top of page

Gaspar Nuñez

Gaspar Nuñez (Tucuman / Argentina)

“El Castillito” (“Small Castle”) by Gaspar Núñez was the second R.A.R.O. residency. His project, the construction of an inflatable castle made of transparent plastic fabric that delved into the metaphor of the smoke seller, was also the winner of a grant awarded in conjunction with Fondo Nacional de las Artes. For the realization of his idea, Gaspar worked at TACURÚ, a textile workshop, together with Silvina Romero and later with Julián Pesce in his sculpture workshop where he built the smoke machine that fed the castle. At the end of his residence the castle was exhibited at Caffarena 86 in La Boca, within the context of that year’s Gallery Day in Palermo.


El Castillito (The Small Castle)

Many times I have wondered how the whales can run aground, how such a creature can degenerate its course, incrusting itself in the inhospitable to wait for its death. All I can think is that, that monumental animal, either assured its suicide or-let’s say- was a stupid animal and therefore, was expected to die easily. I am interested in digging into that profane situation gestated by the sublime creature that goes against its very supremacy. There is an ambiguous and suspicious naivety that leaves me uneasy.

Basically, architecture is a delimitation apparatus. It is erected to shelter, to establish gaps and empower some people. Therefore, it can’t show symptoms of failure or weakness. It is not a project that can fail within a short time. From it, firmness is expected for its continuity and permanence, thus, perpetuating that project, that conquest of power.

 However, we could say that the present is the time to give in, time for contempt and demolition. Time for questioning and for versatility. And, although we are not talking about architecture anymore, obviously, I bet there are structures built from the beginning for the shipwreck. They would not be projects that make water, but something like "waters that make a project" but are still standing, in a perpetual racket. Like a gif or a loop video of some lying, wounded king, whose death never came. Like a whale stranded in limbo. This structured and institutionalized shipwreck is fed by an injection of precariousness that inflates it but also infects it, it is a pharmakon.

 And, if architecture pursues stability, we must ask ourselves: who is the architect who plans those precarious, contingent structures? Inflatable castles are always powered by an air pump that attaches to the soft canvas structure. So they are only sustained by air. Here, smoke is absorbed by the pump, repeatedly pouring back into the translucent children's architecture, like a loop image.

bottom of page